Thursday , November 26 2020

King Kong: A wild Australian musical review on the premiere of Broadway



King Kong again collapsed to Earth in New York, with the appearance of the great Australian Progressive Stage, designed to provoke wild criticism from critics at its official opening.

The $ 35 million success earned praise for its leading man – Marionette's gorilla, designed by a team of a dozen puppets, awarded an appreciation by its leading lady, Christy Pitts, and universal praise to the production designer Sonny Tillers. But it whites all around pretty much everything else.

However, some critics recommended the show to the audience – as a play, if not as a musical theater.

The perfect Eddie Songwriter has been selected – for all the wrong reasons. "The score is a mix of Mark's soundtrack style by Marius de Vries and a collection of songs without an Eddie Perfect profile," wrote Jim Green on The New York Times.

The musical version of King Kong is widespread by Broadway critics.

The musical version of King Kong is widespread by Broadway critics.

read more:
* Story of two musicals: King Kong and Blonde Legally
* Kiwi player Julian Denison cast Godzilla against Kong
* Movie Review: Kong: Skull Island – The King overshadows everything else

In "Variety," Frank Rizzo wrote that "Eddie Perfect's individual songs are generic and reminiscent," and "The New Treat" of The Wall Street Journal said that "the songs and songs, jointly prepared by Marius de Vries and Eddie Perfect, Strong and noisy. " He also said the book, by Tony the winner of the GOP Toren (Harry Potter and the Damned Child), Was "banal and stapefyingly".

The criticism of the songs is a hard hit for Perfect, who spent the past two years working on two productions simultaneously. Both of them have been hit by visitors in a week.

King Kong the first play debuted in Melbourne in 2013.

And Armao JAA

King Kong The first play debuted in Melbourne in 2013.

His songs for the stage adaptation of Tim Burton's 1988 film Beetle juice, Who is out of town experience in Washington DC, before the planned debut in April 2019 on Broadway, were lashed in last week's reviews.

Blanchard Wine at DC Theater Scene said "despite some perfect vapor[[[[Beetle juice]Words are smart, his music is derivative and modest, as if a Broadway checklist is ticking. "

Peter Marx Washington Post Was a little more polite, noting that "Pharm's excellent pop score contains several service ballads … and some curves: a parody number of the boy in the world of childbirth feels like 2018 as an episode of Friends"He said.

But Paul Harris noted diverse This is Perfect's score[To[for[ל[forBeetle juice]Is another problem. There are only a few melodies of distinction, and sometimes he plays scenes that arguably can be conveyed more effectively in dialogue. "

Critics of Broadway say that while the animal Kong is magnificent, "The show definitely is not."

Critics of Broadway say that while the animal Kong is magnificent, "The show definitely is not."

Despite being reworked since its 2013 debut in Melbourne, the production of New York King Kong Aroused many critical reactions as she did at home – that is, it is spectacularly visual, but musically fascinating.

Typical of the reaction was Erin Starker Mashable"If it was a attraction in an amusement park, I would give it five stars, and unfortunately, this is a Broadway musical, not the last of Universal, and while Kong is a grand animal, the show definitely is not."

But write Hollywood, David Ronny thought that despite his shortcomings, the play was still worthy.

"Even if the star doll may be more suited to the stage binoculars or to the attraction in the amusement park, you can not take your eyes off this technological wonder, no less because of its wonderful facial expression … If you close all the surrounding noise just focus on the amazing animal, A wild creature in a cage brutally exploited for entertainment purposes and greed can still hurt you where it hurts. "

King Kong's songs and music came under special scrutiny.

King Kong's songs and music came under special scrutiny.

But for all the accolades of the doll Kong, some of the criticism was a sign of snobbish disregard for the origins of the Sydney-based global work – specifically in the scene of the puppet scene, Go with dinosaurs and How to train your dragon.

"Perhaps we are wrong in implementing arty standards for the cynical product of an ambitious entertainment company that has made its name on animatronic arena programs," wrote Jim Green at The New York Times.

The CustodianAlexis Solosky echoed this, praising and condemning almost in the same breath.

"At hand of engineering and structural engineering, Kong is cool," she wrote. But it was also a "show that makes a little breathing sense, and is rarely even fun. The people who brought you Go with dinosaurs Now they brought youTwisting with monkeys.

Before the show opened, producer Carmen Pavlovich admitted it was a little bold for an Australian company to take the residency in one of the city's major theaters with this New York storytelling. But, she added, "we felt very welcome here."

Chances are, everyone involved with the show is feeling a little less desirable today.


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